Eich is a label created to release my collaborations and solo work.
Digital and CD available here https://eich57.bandcamp.com
Marc Baron / Jean-Philippe Gross “Black, Pink & Yellow noises”
(Eich005 – September 2022)
Black Pink & Yellow Noises is the first studio opus from the duo created in 2018 of Marc Baron and Jean-Philippe Gross. BPY&N presents itself as a suite, of twenty short pieces for tape and electronics, which owe equally to concrete music as to experimental hip-hop of recent years. This album is a block of tense sound, sometimes raw, sometimes extremely sophisticated: fragile recordings from inside the studio, to the brutal presence of a block of electronic sound, damaged magnetic residue or tape loop of which you never know really if it is repeating itself. Black Pink & Yellow Noises is above all an album by sound lovers, who reveal certain materials, before immediately removing them, rather than exhausting them.
Jean-Philippe Gross / Jérôme Noetinger “Nos cadavres”
(Eich004 – May 2021)
There is a great tradition of exchange and correspondence work in experimental music. In the 80’s, there were a lot of cassettes with musicians who had never met each other but were exchanging sounds by post mail. Nowadays it’s even simpler and more obvious.
The imposed period of confinement – in France between March 17 and May 11, and between October 30 and December 15, 2020 – was ideal for restarting such projects.
Jean-Philippe Gross and Jérôme Noetinger have had the opportunity to play several times as a duo since 2009. They decided to start this new email collaboration based on the idea of the exquisite corpse. One musician created a first sequence and sent only the last 10 seconds to the next one who then mixed or pasted his sequence into it, and so on. The first two “Cadavre” were published by Cafe Oto in-house label Takuroku in July 2020. Excited by this new way of working, Jean-Philippe Gross and Jérôme Noetinger decided to go deeper into it.
Each of the fourth “Cadavre” that you will find on this CD was realised in one day only, each musician having only 30 minutes to build his answer. The final result was only slightly modified in terms of volume. The rawness of the process itself creates music that would otherwise be impossible to make. It’s as beautiful as it is strange, improbable and unexpected, absurd and playful, and it is not easy to guess who does what.
Dénombrement – Stéphane Garin / Jean-Philippe Gross
(Eich003 – December 2019)
For percussions, electronics and recorded sounds.
Recorded between 2017 and 2019 by Benjamin Maumus, Richard Comte, Nils De Deyne and Jean-Philippe Gross, “Dénombrement” regroups a series of connections between percussion and electronics. The placement of percussion in different phonographies, with an intense and sustained mix of live or pre-recorded sonic data results in a highly synchronised merging of sources. Not only does this create a complete ambiguity and a loss of frame of references in an aesthetic that approaches a study, but transcends it, by recordings of the creation of the piece itself, imbuing it with humanity and distance, humour and anecdotes.
Jean-Philippe Gross – Reflex (for serge modular system)
(Eich002 – September 2019)
“Reflex” is a piece in 13 parts performed on a Serge analog modular synthesizer system between between 2013 and 2018 and edited in 2019.
Beyond the notion of a study, and far from being a demonstration, one could consider Reflex as a collection of sound situations (all with different durations) possible on such a modular synthesizer. For some history, this system dates from 1972, from the West Coast of the United States.
It’s quite some time now that the modular synthesizer has come back into favour, but rare are the opportunities to listen to something apart from just drone or beats. With Jean-Philippe Gross, there is a willingness to get back to the fundamentals of electronic music, without falling into a sort of objective purity of the 1950S. His pieces have an animal side, all the sounds are alive, in their pulsations, their grain, their vibrations and frequencies, their stereophonic movement and of course their dynamics.
A liveliness that knows how to tickle our eardrums and will always surprise us at each new listening.”
Jean-Philippe Gross – Curling
(Eich001 – September 2019)
“Curling” was composed in February 2018. This electroacoustic piece is based on a recording of a Curling match – a sport shown very late at night on public television channels and played on ice with granite stones, where the aim is to get them as close as possible to a circular target, using a sweeping motion with a brush. This sonic tableau becomes a scene from sound theatre, as mysterious as it is tense and disturbing, placed over an electronic layer which slowly evolves over the duration of the work. The principle is simple, and, as is often the case with a simple and great idea and the know-how that goes with it, it works. We are seized by this tension playing out before us – and apart from a certain number of aficionados – in total ignorance of the unfolding drama!”